1 What is/are the primary reason(s) for you to make work in the first place?
The primary reasons are for the formulation of theoretical concepts concerning the cultural, social and political function for the potential of art.
2 What do you intend your work to convey to an audience?
The work centres within a brooding altruism to the subject. A pursuit of Intent, how It Is marked or collated and an attempt at polarising the viewer into debate, freethinking and continual questioning. History Is shelved In a position to be overturned, Its pendulum force moving closer to the habitat of civilisation and the allure of the spectacle reignited.
3 Why do you work in your chosen medium and format?
The vernacular of painting can allow for a cross pollination of Ideas to take place. It is a medium that one seemingly exposes but also renounces as an acquisition, which was once privileged and elitist but is now continuously challenged. Painting can have the potential to envelop perceived notions and allow for a litany of possibilities. I am Intrigued by painting for its access, how Itís allure can also be its downfall, how It can act as an Implementer that crystallizes into varying agendas/concepts.
4 Technically speaking how do you go about constructing your work, that is the image or object itself? What devices do you employ?
My work centres on a variety of sources, Ideas and agendas that operate under the guise of specific people, historical or cultural events and different modes of painting. I am Interested In the obsessive fetishism of the enigma and how it shifts and becomes objectified. Each persona acts a guidance inhabiting the work and dictating its eventual outcome.
5 Which period(s)/artists/specific works of art are you influenced by and how directly? How does this manifest in your work?
The manifestation of the past acts in direct response to what is seen. Points of rebirth within art and society and how these expand into macro symbolic languages are periods that I am Interested In. These can range from Lascaux, Johnnes Gutenberg, Enlightenment, Modernism and Dadaism.
6 What stimulates/informs your work from the world around you?
Various historical and cultural points act as Informers for the work.
7 What stimulates/informs your work from your own personal experience?
The origins of engagement form a personal perspective towards the work and is key in the development for each Idea. The leadership of the author combined with the role of the librarian is where the work lies.
8 From where do you derive your other visual source material (i.e. non art historical) and how do you implement this material within your work?
This develops from an archive. This is an architectural space that houses the theology of my practice. A power struggle co exits between to various symbolic relations with Its Ideological Intent, how It Is groomed, manipulated and its status re-examined aiding the eventual outcome.
9 What are the main problems that you face in making your work?
10 Where do you intend to take your work from here?
The work exits within a slippage that looks at how It Is historically cultivated. Its potential is limitless but is paradoxically redundant in its eventual demise. This prism is where the work lies.